Performing Knowledge explores the relationship between musical performance and analysis through a unique collaboration between a music theorist and a cast of internationally renowned performers, investigating major musical works of the twentieth century¿Ravel, Schoenberg, Bart¿k, Schnittke, Milhaud, Messiaen, Babbitt, Carter, and Morris. The book is a brave crossing of disciplinary divides between scholarship and practice, a theory text enlivened bythe voices of performers who create, interpret, and articulate structure.

• Acknowledgments


• Permissions


• Note to Readers


• About the Companion Website


• Contributors


• Theme: Performers, Structure, and Ways of Knowing


• Counterpoint: Cross-Disciplinary Collaboration


• Variations


• Performance and Analysis


• 1. Determination of Structure: Performers' Voices on Ravel's Concerto pour la main gauche


• 2. Creation of Structure: Interpreting Schoenberg's Klavierstück Op. 19 No. 4


• 3. Understanding of Structure: Performed Rhythm at the Center of Bartók's Fifth String Quartet


• Analysis and Performance


• 4. Story in Structure: Schnittke's Piano Quartet and "the attempt to remember"


• 5. Poetry in Structure: Counterpointing Motion in Milhaud's "Aurore"


• 6. Drama in Structure: Enacting Ritual and Drama: The Two Pianos of Messiaen's Visions de l'Amen


• Performance and Analysis


• 7. Script Versus Structure: Virtuosity in Babbitt's Lonely Flute, with Reflections on Process


• 8. Performing With Structure: Local Frictions and Long-Range Connections in Carter's Changes for Guitar


• 9. Reception and Structure: Morris's Clear Sounds, Audiences, and New Music


• Counterpoint: Cross-Disciplinary Collaboration


• Theme: Performers, Structure, and Ways of Knowing


• Bibliography


• Index

Daphne Leong is Associate Professor of Music Theory at the University of Colorado Boulder. Her research interests include rhythm, analysis and performance, and the music of 20th- and 21st-century composers. Her publications appear in journals such as Journal of Music Theory, Perspectives of New Music, and Music Theory Online, as well as in edited collections on Bartók, Ravel, and the pedagogy of music theory. She is an active pianist and chamber musician, whose repertoire ranges from Bach to premieres of current music.